226 SUSAN LEWIS HAMMOND Figure 1. Melodia olympica. Antwerp, Phalèse & Bellère, 1591. Tenor partbook, fol. 1v (facsimile edition in Corpus of Early Music, 22, Brussels, 1970). all four anthologies. 2 This article uses the ‘Antwerp anthologies’ as a case study for assessing the marketing of madrigals at the Phalèse firm. The marketing of early modern music books incoporates strategies familiar to us from modern marketing practices, such as product development (which includes brands and packaging), pricing strategies, distribution channels, advertising, and promotion. For Phalèse, the anthology format itself served as a marketing tool. Whereas volumes of one author’s madrigals highlighted the virtue of a single composer, anthologies highlighted the cosmopolitan nature of the madrigal as a genre, thereby creating and reinforcing cul- 2 The Uppsala copies, for instance, include all four anthologies in addition to Il lauro verdi (1591) and La fleur des chansons d’Orlande de Lassus (1592) – see R. WEAVER, A Descriptive Bibliographical Catalog of the Music Printed by Hubert Waelrant and Jan de Laet, Warren, Michigan, 1994, p. 194. The name Nicolaij Dapperichs and the date 1604, 27 Aprilis are written inside. The volumes are found in sixteenth-century leather bindings with the name Guilhelmvs Knopehevs and the date stamp Anno Dominvs 15 93. See also J. BERNSTEIN, Music Printing in Renaissance Venice: the Scotto Press (1539–1572), New York – London, 1998, Appendix C, pp. 933–950, where binder’s volumes attest to acquisition by collectors of series or sets of editions. Mary Lewis discusses the ownership and collecting of Gardano music books in M. LEWIS, Antonio Gardano: Venetian Music Printer, 1538–1569: A Descriptive Bibliography and Historical Study, New York, 1988–, 1, pp. 123–162.
SELLING <strong>THE</strong> MADRIGAL: PIERRE PHALÈSE II AND <strong>THE</strong> FOUR ‘ANTWERP ANTHOLOGIES’ tural consumption. The large, 36-folio size of each collection reveals a bigger ambition on the part of Phalèse: to become an active player in the European music trade. Though madrigals had appeared in northern editions as early as Orlando di Lasso’s Opus 1 (Antwerp, Susato, 1555), the ‘Antwerp anthologies’ mark a shift in focus from northern composers and regional markets, to Italian composers and the European marketplace. 3 The contents of each anthology are presented in Appendix 1. The article first argues that Phalèse created a brand of madrigal books that relied on consumer recognition. The ‘Antwerp anthologies’ retain the ‘look and feel’ of music books from the Phalèse shop, while at the same time they transmit contents that represent a marked shift away from the specialization of his father, Pierre Phalèse I, on French chansons and lute books. Second, Phalèse used outside compilers to build a target audience of patrons who received praise in both words and music in the ‘Antwerp anthologies.’Third, Phalèse allied himself with prominent bookdealers and publishers in the region to expand the market for the collections to virtually all corners of Europe. Finally, Phalèse reprinted the anthologies multiple times over the course of fifty-one years to create a lasting market presence. Phalèse and his heirs printed a combined total of twenty-three editions of the four collections, which form the largest recurring body of Italian madrigals in the north. 4 3 Scholars have noted the significance of the ‘Antwerp anthologies’ for the northern dissemination of madrigals by Italian composers. See F. PIPERNO, Madrigali siciliani in antologie transalpine (1583– 1616), (Musiche Rinascimentali Siciliane, 6), Florence, 1991; F. PIPERNO, Gli ‘Eccellentissimi musici della città di Bologna’con uno studio sull’antologia madrigalistica del cinquecento, (Historiae Musicae Cultores Biblioteca, Madrigalisti dell’Italia Settentrionale, 2), Florence, 1985; F. PIPERNO, Polifonisti dell’Italia meridionale nelle antologie madrigalistiche d’Oltralpe (1601–1616), in La musica a Napoli durante il seicento. Atti del Convegno Internazionale di Studi Napoli, 11–14 Aprile 1985, (Miscellanea Musicologia, 2), Rome, 1987, pp. 77–92; and F. PIPERNO, Il madrigale italiano in Europa. Compilazioni antologiche allestite e pubblicate oltralpe: dati e appunti, in ALBERTO COLZANI et al. eds., Il madrigale oltre il madrigale. Dal Barocco al Novecento: destino di una forma e problemi di analisi, Como, 1994, pp. 17–48.On their importance for the development of the English madrigal, see J. KERMAN, The Elizabethan Madrigal: A Comparative Study, (American Musicological Society: Studies and Documents, 4), New York, 1962, especially pp. 48–51, 57–58. Kristine K. Forney was among the first to draw attention to Antwerp as a northern centre for the madrigal – see K. FORNEY, Antwerp’s Role in the Reception and Dissemination of the Madrigal in the North, in ANGELO POMPILIO et al. eds., International Musicological Society 14th Congress 1987. Round Table IV. Produzione e distribuzione di musica nella società del XVIe e XVII secolo, Turin, 1990, 1, pp. 239–253, especially pp. 247–249. Gerald R. Hoekstra focuses on the audience for Italian music in G. HOEKSTRA, The Reception and Cultivation of the Italian Madrigal in Antwerp and the Low Countries, 1555–1620, in Musica Disciplina, 48 (1994), pp. 125–187. On the printing and publishing history of Lasso’s Opus 1, see K. FORNEY, Orlande de Lassus’s ‘Opus 1’: The Making and Marketing of a Renaissance Music Book, in Revue Belge de Musicologie, 39–40 (1985/86), pp. 33–60. 4 Friedrich Lindner’s three-volume series Gemma musicalis (Nuremberg, Gerlach, 1588–1590) contains a comparatively large number of madrigals, but was never reprinted. The dates for the reprints of the ‘Antwerp anthologies’ are summarized in HOEKSTRA, The Reception and Cultivation of the Italian Madrigal, p. 126, n. 4 as follows: Musica divina (1588, 1591, 1595, 1606, 1614, 1623, 1634); Harmonia celeste (1589, 1593 [with slight modifications], 1605, 1614, 1628); Symphonia angelica (1590 [with slight modifications], 1594, 1611, 1629); and Melodia olympica (1594, 1611, 1630). 227
Change language